Bruno Ruiz

During the party, Bruno collaborated with Shimodera Takanori, one of the previous artists in residence (fiscal year 2022). He offered food and drinks such as Tacos and Ponche, making a bustling space gathered by people from different backgrounds.

Bruno described the history of gariban, his research in Shiga and Gifu, and each piece of work displayed in studio. He also emphasized the importance of collaborative process in the workshop when making art and expressing thoughts using gariban.

Bruno made drawings on the sign and curtain which will be attached to the yatai (food stall) for the opening party.

Bruno framed the works made at the workshop “Gariban Otaku Society,” and also finalized his publication and video work.

On this day, another artist Kawabe Naho, who joined the previous artist in residence program (the third period of the fiscal year 2023), visited the studio in ACF. Bruno explained Kawabe about his research on gariban and ongoing works.

DOCUPERU, who participated in the previous artist in residence program (the third period of the fiscal year 2022), visited the studio in ACF. They saw Bruno’s ongoing works and had conversations with the artist.

On this day, Bruno and Goto Sachiko who organizes “Goto Gariban Printing Office” in Kurume, gave introductory talks about gariban including its historical background. Later, each of the workshop participants made their own drawing and printed them with gariban. Matsumi Shinnosuke who is a member of Gari-banchi collective also joined the event. The workshop had a variety of participants, from small child to international students.

Bruno met Kanzaki Tomoko, an artist and gariban researcher online. He described about his artistic practice and previous mimeograph projects he did in different regions of Asia. He also shared about what he learned during his research in Japan, his current plans and ideas. It was lucky for Bruno to hear Kanzaki’s thoughts about his idea, as well as historical and technical aspects of Japanese gariban.

Bruno started working with the local people who also make gariban prints to make new work for the exhibition. On this day, the local collective Gari-banchi visited his studio. Members of the Gari-banchi drew come calligraphy in Kanji (Chinese characters) followed by Spanish and English done by the artist himself. They combined the two works to make one printing plate.

On this day Bruno visited Gariban Densho-kan, the archive museum introducing history of Horii Shinjiro and his son, the two inventors of toshaban (mimeograph), the process of their inventions, and some references about what was happening in society at that time. At the beginning, Tanaka, the head of office gave him explanations and later Okada, the vice chairman of Shin-Gariban Network, demonstrated how the printing works using the machines.

Bruno visited the museum and met Kamiyama, the CEO of the Daito Chemical Co., Ltd. and their publicist Kawamura, who guided him inside to introduce the history of mimeograph that is related to the craft of Japanese traditional paper known as washi. He was also given descriptions about technical development of mimeograph and its machines.

Bruno explained about Mexico city and its culture using images on screen to the students of Najima Elementary School. Then, he organized the workshop to print the drawings on which each student had prepared, which visualized images of a Japanese onomatopoeia sound of “gari-gari.” During the workshop, students also tried making their original zines using color papers while they wait for their turn for gariban printing.

Bruno visited the Goto Gariban Print Shop in Kurume city, and joined the gariban workshop there. He inquired about the techniques and materials including paper or ink, used for Japanese gariban. After the workshop, he saw an exhibition of Tsukioka Yoshitoshi at the Kyushu Geibun-Kan.

On this day, Bruno visited the Faculty of Art and Design, Kyushu Sangyo University, and also Kyushu Sangyo University Zokei Junior College. There he learned about some available facilities and studios inside the university. During the visit he met Prof. Minami Satoru and inquired about pigments that are specially used for traditional Japanese painting, which he was interested in. He also saw the solo exhibition of Ushijima Tomoko at the Museum of Kyushu Sangyo University. Later, he went to see exhibitions in nearby contemporary art galleries, including the “philosophie” at the art space tetra, where he met a few artists, “Sakai Tadaomi” show at the art space baku, and “Wada Chiaki” exhibition in the gallery EUREKA.

Bruno visited Aizome-kasuri Kobo (an indigo dye studio) and Kobo-Ohki to learn about local textiles. He then met Bori Hironori, an artist in residence at Kyuukaminosho residence, who taught him techniques and tools for pyrography. At the end of the trip, Bruno visited the art studio of wood carpenter Sekiuchi Kiyoshi, and spent a long time to inquire him about gariban, which he planned to make.

Matsumi Shinosuke, one of the members of gariban collective Gari-banchi, based in Fukuoka, worked together with Bruno to experiment gariban print on a piece of wood cut to size.

Bruno first introduced visual culture in Mexico, including sign paintings from Mexico City where he was born and is now based. He also introduced his previous works, including projects of his collective RRD, which started from a kiosk he and his friends bought. The artist shared images of his installations from his previous residency in other Asian countries, which incorporated sign paintings, banners, and some mimeograph printings. He told the audience that he plans to make printings and hold gari-ban(mimeograph) workshops in Fukuoka.

After the guidance meeting with FAAM curators and AIR program coordinators, Bruno looked at other spaces and facilities in Artist Cafe Fukuoka.